Naomi Dawn Musch

There are lots of writers out there. For some of them, their byproduct has been publication. But not all of the published ones are very professional. They've simply been fortunate, and if their unprofessionalism shows up in their work, maybe they aren't even that.

At the same time, there are some unpublished writers who behave very professionally. They are made up of the stuff that marks them as professionals whose day just hasn't come yet.

How can an unpublished writer be a professional? It's all in how they treat their work. Even unpublished, a writer is on the path to a great future if they are doing those things now which mark professionalism.

There are two things that define whether or not you might be a professional. Being published is not one of them. This week in part one of this essay, I'll address the first mark of professionalism.

You Might Be a Professional Writer if You Maximize Your Potential.

I've met a lot of writers who are satisfied with their work much too easily, either because they consider a piece to be finished before it is, because they are tired of it and just want to start something new, or because they give up on themselves. They haven't maximized their potential.

It seems obvious, trite even, to say always do your best. But is it? Every time you finish a piece, whether it’s a blog post or novel, are you prepared to say you've done your best? Have you cleaned and polished until you can't figure out what else to do to it?

Do you study craft with an eye to what makes fine writing? This means you read widely. Believe it or not, I've met writers who say they either don't like to read or don't have the time. What?! You can't be a professional writer if you aren't reading a ton in the area you write. But even reading outside your genre in fields of both fiction and nonfiction will expand your vocabulary, your style, your eye for detail and description, your voice. Without being a widely read writer, you will stagnate, and possibly grow very full of yourself.

Not only should you be reading a LOT, you should be absorbing instruction on writing through books, blogs, podcasts, writers' groups, magazines, and so on. Artists never stop growing and learning, and writers are artists. Be open to new instruction. Even well-known writers -- some of the ones whose professionalism I, for one, respect -- say that they never stop studying craft.

Study publishers. Know the markets. Even if you aren't ready to submit your work, have a good understanding of what it's going to take to do so. Observe which trends are coming and going. Know what's already been done. Most publishers and agents have blogs these days. Pay attention to them.

And finally, another way to maximize potential that may seem obvious is this: professional writers write.They don't just talk about writing. They don't dabble at it. They scoff at notions of writers' block. They overcome and get words on a page, even if the page looks like a mess when they're done. They push on. They work through it. Then they go back to the top of this list. They clean, polish, refine -- or throw the whole thing out and start again if it isn't evolving into the best it can be. Writers who either are professional or long to be, carve out a time, put their backsides into a chair, and make their fingers work the keyboard.

Next week I'll hit the second point of being a professional writer. This one might sting. In the meantime go warm up that keyboard. Maximize your God-given potential.

Write on!

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What sort of novel would you read twice? With so many new books releasing every day, it's not often I consider giving a book a second go-round. Yet, some stay on my shelf because I hope to revisit them someday.

I did that last week. I'm a big Angela Hunt fan, especially when it comes to her historicals. I first read Afton of Margate Castle at least ten years ago, and it's one of those books that will always remain in my library. But when it recently turned up as a free read for Kindle, I couldn't resist downloading. I took a glimpse, remembering the characters rather quickly, and before long I was hooked again.Caught in the story of a young, innocent girl dealt a harsh, evil hand, I was as bound by the tale as if I'd never read it before.

Why? What magic does Ms. Hunt imbue in her style that can hook a reader two times around?

Hunt is one of the reigning queens of Christian fiction, yet Afton of Margate Castle was her first novel written for adults. She'd spent previous years writing in other venues.

So how did Hunt so successfully craft Afton's story? She followed the first two rules of great story-telling.

***Hunt finds what is great and strong in her characters and shows it in large or subtle ways at the onset. Then as she continues rounding out their lives, giving them even further dimension, she drops them into bigger-than-life situations that are seemingly beyond their ability to handle. But the situations serve to nurture those seeds of greatness inside them and force them to grow.

Here is young Afton, a simple villein and eldest sibling in a large family on her lord's estate. Only a child, she is proven to be sweet natured, uncomplaining, and hard working. But her uncommon beauty and poise have caught the eye of the earl's wife, Lady Endeline, who desires to raise another child, a little girl. She takes Afton from her family, as is her right, and raises her as a companion to her own plain, stubborn daughter. But the lady's desire for Afton soon turns to jealous aggravation as Afton's noble nature doesn't seem to rub off on the true daughter, Leinor. On the other hand, it does catch the eye of the mistress's son. But Lady Endeline will not allow a bond to form between her son and the daughter of a plowman. The woman's desire for Afton soon turns to bitterness toward the girl, and before Afton is even a teenager, she is thrust into forced marriage to the town miller, a jealous, brutal man.

I don't want to give anything away. If you haven't read it, you should. But the point is, Hunt's characters are like gladiolas in a sea of dandelions. They stand out. They're vibrant, developed, alluring. Most of all they have strengths that may seem small or common, but dropped into tenuous circumstances, traits such as industriousness or compassion become determination and honor.

***The next rule of good story-telling Hunt follows once she drops her characters into a sea of untoward circumstances, is to send out scenes in rippling waves -- cresting, receding, cresting, receding. Each and every scene moves the story forward, but just as the protagonist seems to balance on the brink of certain joy, Hunt plunges her again into the abyss of misfortune. With each betrayal, heartache, and yearning, we care more and more so that we must keep reading, we must keep riding those waves, hoping for a favorable outcome.

As young Afton is enjoying both the familial chores and joys of carefree childhood, she is ripped from her home to live in the castle and her loving mother is forced to reject her. Then, as she learns to trust lady Elendine and love her son, Elendine casts her into a terrible marriage and her son is sent off to the crusades. When Afton finally finds some measure of peace and joy in raising her own child, Elendine interferes yet again.

And it doesn't stop there. Wars, revenge, secrets and betrayal, the passing of years -- all keep Afton from knowing forgiveness, trust, and true love. As each scene wave brings us closer to the shore of resolution, our tension grows.

Angela Hunt is known for her ability to bring the unexpected to her readers.

More, of course, is required to make a novel sing, but by hinting at greatness in her characters, and by moving the story forward to climactic moments within each scene then pulling back to leave readers breathless with anxiety and hope, the first two rules and perhaps the biggest are accomplished.

May we all learn such craft and technique as we--

Write On!

"...moving and powerful love stories that evoke your emotions and reduce you to tears." - Review

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How do you decide what to work on next?

Don't you have stories flitting around in your head like ghosts in an attic-riddled mansion? I do. They all beckon me to follow down this passageway or that. But which one will lead to a dead-end, or trap me in a closet, or shake me to bits? Stories do treat a writer that way.

And which one will lead me to a big reveal, a treasure of untold proportion?

I dunno. I can't make up my mind. Should I edit the fantasy that's been sitting for year? Should I shine up the romance for submission?

Yeah, yeah, I'll get to those. But what about the voyageur skirting the shore of Lake Superior in his canoe, bringing the Indian bride to the unscrupulous trader at Fort William? Will he ever get there if I don't start writing? And what about the young fellow caught in the liquor run to Al Capone's hideout in a tiny northern town? How will he ever break free of the mob's grip to marry that sweet girl-next-door if I don't help him?

So give me a hand. Tell me how you pick "what's next". When there are so many ghosts to follow, how do you choose?

"...moving and powerful love stories that evoke your emotions and reduce you to tears." - Review

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Forget eating bugs. John the Baptist did it. Forget driving down the highway at reckless high speeds. Cops and race car drivers do it for a living. Others do it just to make a YouTube video. Forget all that Fear Factor hype on TV. What really induces fear? Following your dreams, that's what.

My children are young adult kids who are chasing their dreams in big ways. They might lose a lot of money if things don't pan out. They might even end up jobless. They might have to endure criticism. Actually, I'm sure they will. But that's what happens when you chase after something -- an ideal, a passion -- and it stretches you beyond ordinary limits.

I'm a writer. I've been a writer since I was ten years old.Some people didn't believe it. (Can you imagine?) I hoped to be a published novelist by age 24. I dreamed of being an award winning journalist. Hmm... I'm 50, and I've been writing all along -- pretty much -- but some of my biggest achievements, like publishing a novel, only happened recently. If I had known it would be so tough, would I have pursued this dream for 40 years?

Um... Yeah, I think I would have.  I think I did know it would be tough. I was aware that upsets and interruptions would come. They have to. After all, who wants to miss out marrying their high school sweetheart and raising five kids and homeschooling and farming and buying and selling and going on escapades...?

Life is full. But adventures await. Still, the dreams cling and we pursue them if we aren't afraid.

What holds you back from chasing your passion? Fear of failure? Fear of rejection? Fear of hardship? Fear of inability? Fear of attack?

Kick the fear factors. If God planted a desire in you forsomething that just won't go away, step across the line and take a closer look. See if it doesn't grow. See if it doesn't grow you. Following your dreams will almost never be easy, and you won't be guaranteed absolute success. But it will keep you from wishing that you'd tried. After all, I think the fear of looking back at what "might have been" could be the worst feeling of all.

Write on!

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In today's post, author and evangelist Zeke Lam, shares some thoughts applicable to both men and women on intimacy with Christ.

ZEKE LAM is the founder of SUBMISSION Ministries—a ministry devoted to seeing lost souls encounter God and live lives fully surrendered to the risen Christ. A graduate of Liberty University, Zeke’s deep passion for following Christ’s will has led him through many years of youth ministry and itinerant evangelism. Both of these experiences have enriched and fueled his desire to hand others the keys to a Christ-centered life. Zeke resides in Virginia with his beautiful wife, Kathleen, and a growing family of future world-changers.

Mary and Martha

            Scattered throughout the New Testament Gospel books are several interesting and powerful interactions between Jesus and women. In each case, an intriguing lesson is brought to light for the individual and very applicable to our present day. From the story of the widow and her two mites in Luke 21 to the lady touching the hem of Jesus’ garment in Luke 8, to the woman at the well in John 4, each case provides valuable truths.

            While each are critical and essential depending on the season of life a person is currently facing, the story of Mary and Martha in Luke 10:38-42 has offered significant help at various times in my life. Hosting Jesus was a privilege indeed. Mary sat at the feet of Jesus and worshipped while Martha was busy with much serving. This busyness became a distraction in her life from her chance to be at the feet of Jesus.

            I could spend a lot elaborating on this verse, but the intent of this post is to highlight one simple truth. This truth is summed up in verse 42 as Jesus proclaims that Mary chose the one thing that cannot be taken from her: a relationship with the Lord. There are so many things in this life that we cling to with all our might. Our jobs, ministries, reputations, families, etc, are among the possessions we hold to and render all our time to. Yet, none of the examples just mentioned are guarantees.

            Is there anything wrong with laboring? No. Is there anything wrong with striving hard to be a good provider, mother, minister, or employee? No. In fact, it is our duty to perform these actions as unto the Lord and for His glory. However, under no circumstance should these things become a distraction or idol separating us from the presence of our Savior.

            Notice why Jesus corrected the actions of Martha. Verse 40 points out that she was distracted by the much serving. We must never allow our calling to hinder our relationship with the Caller. Both women and men in our society have extreme challenges to face. Juggling the responsibilities of this world while remaining at the feet of our Savior requires submission and faithfulness. Under no circumstance can we place Jesus second or third place on our list. Anything above Him is idolatry. If this is our current situation, we must re-prioritize to ensure proper order in our lives.

            This passage of Scripture has been very instrumental in my life. It is so easy to lose sight of the fact that our first priority is to love Jesus Christ with all our heart, soul, and mind. All other aspects of our life must flow out of this intimacy with Him. Remember, this is the only treasure that you and I possess that cannot be stripped from us.

            Mary and Martha had an experience with Jesus here that highlights a core truth. He longs for us to long for Him. He is not concerned with what we can merely do for Him. He wants our hearts to align with His and be willing to be His vessel. These ladies had the privilege of receiving a lesson firsthand that stands strong in significance today. 

_______________________________________________________

What is the greatest challenge that the Church is facing today? Zeke Lam suggests that one word is the greatest challenge:  submission, or the lack thereof. It is not external forces that nullify the testimony of a Christ-centered believer, but rather the failure to humbly submit to the voice of the Lord. His book SUBMISSION will help you to live a surrendered life abiding in Christ.

•   Is the approval of God more important to you than the approval of man?
•   Is the presence of God evident in your life?
•   Do you fiercely protect your intimacy with Christ?
•   Do you desire to live a life of truth, free from the lies of the devil?
•   Is God’s divine character visible to those around you?

Learn how to submit your life wholeheartedly to the Lord so that you can dwell continually in the secret place—a place of intimacy, surrender and joy.

Prepare to be stirred by this authentic calling to return to Scriptural obedience.

—Pastor Gabe Turner, The Point Church of Charlottesville, Virginia

In my opinion Zeke has laid his finger on the defining message for our time. This message is essential for believers everywhere…

—Eric Stephens, Pastor of Life ChangingMinistries and Fellowship in Sugarland, Texas

Amazon Link: http://www.amazon.com/subMISSION-heeding-only-His-voice/dp/193748100X/ref=sr_1_1?s=books&ie=UTF8&qid=1326126281&sr=1-1

 ISBN-13                 978-1-9374-8100-1

 ISBN-10                 1-9374-8100-X

 Author website - http://submissionministries.org/

Readers tire quickly of protagonists that are either too perfect or too ordinary. Have you ever read a book and thought, something about this book seems familiar, as if I've read it before, only to discover that yes, you have read that very book before, but it had been so entirely forgettable that you felt like you were experiencing more déjà vu than a real memory? On the other hand, have you ever had a novel, a character, a plot, stick with you for years and years, right down to its fine nuances?

If you've had either of these things happen, which you probably have, what made the difference? A casual reader might just say that one was more interesting than the other. But what made it interesting? What made you, as a reader, bond with the character of Book A, while the protagonist of Book B dissolved into the mists of memory?

I submit to you that it had something to do with the way the author displayed the character's secret strength within the first few pages of the book.

We hear a lot about "hook". I've written about crafting hook on this blog. But a huge part of making that hook sharp enough to grasp a reader by the vitals is to present a protagonist that has a secret strength. She can be a victim, or he can be an anti-hero, but no matter what, there has to be some compelling part of their core being that reaches into our hearts and burrows a root of strength.

Maybe the protagonist is a bank robber, but he has a special fondness for his young nephew who he likes to spend time playing with at the park. Maybe she is trapped in a dangerous relationship, but she has a huge imagination that helps her to escape it mentally, and eventually, physically.

Have you ever seen the 1999 movie The Straight Story? In it, an elderly Alvin Straight played by Richard Farnsworth is sadly ordinary. He's old. His adult daughter played by Sissy Spacek is challenged and still somewhat dependent on him. He's not allowed to drive a car anymore, and his overall health is in question. All he has is a riding lawn mower that barely runs and his small, non-descript home. His friends are old codgers like himself who seem content to sit around waiting to die. But Mr. Straight is determined. He's very determined, in fact,to see his estranged, 75 year old brother once again. While those around him think he's cracked, Straight rigs his small lawn tractor for the journey from Laurens, Iowa to Mt. Zion, Wisconsin. His determination to make amends with his brother is the strength that takes him from ordinary to extraordinary.

If we want our protagonists to resonate with readers past the finish of the book, then we need to reveal what makes them strong, even if they seem weakened by circumstances. We need to plant in them some seed of human vigor and that keeps them going in the face of adversity.

Think long and hard about this when you're working out the characterization of your novel's protagonist. What is his or her secret strength? How are you going to clue your readers in to it?

Write on!

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Art Edwards in his essay This is (Not) My Beautiful Life (The Writer/ Sept.'11) said, "No matter the form, readers are voyeurs. We always want what's on the page to generate subtext, implication, rumor. We want to know what the author doesn't want us to know."

The responsibility to generate such subtext couldn't be more important for Christian writers, not only in regard to writing of spiritual matters without sounding "preachy"or "heavy-handed", but as to writing realism without offending our own and others' sensibilities.

Lack of realism has been the complaint of readers for ages in regard to "Christian" fiction. While this is changing, writing from a Christian world view still remains a challenge because we Christian writers don't want to write graphic depictions of sex and gore peppered by foul language. We long to tell stories about life's harsh realities while at the same time being able to pass them off to our grannies and grand-children to read. We've even invented our own brand for some of our fiction to say, "Hey, we're not avoiding the gritty stuff" and labeled it "edgy". But edgy is hard to define and to some is quickly becoming cliché.

Thus it remains true that much of our writing is done in subtext. And to be honest -- much of any good writing should be done that way. It is our responsibility to craft scenes that allow our readers imaginations boundless freedom to roam and create. A job well done, in my humble opinion, doesn't need to spell out the hideous details of a rape, murder, or adulterous affair. It doesn't need to revel in the titillating highlights of a romantic or sexual moment. But these scenes can be created to arouse intense emotion and clear implication without any of the graphic images being relayed on the page in minute detail.

Two examples that quickly come to mind are Amanda Cabot's Scattered Petals, wherein she tells the story of a woman raped by stagecoach bandits -- a shocking thing to read about in Christian fiction, yet done with extreme taste while allowing the reader absolute understanding -- and April Gardner's Wounded Spirits, wherein she tells the brutal story of an Indian raid on a fort with only enough graphic picture to establish what such a horror would have been like, and yet did not offend, but allowed a canvas for readers' imagination to paint the full picture.

In my own series, I've written about spousal abuse, an adulterous affair, and even a woman facing the possible horrors of life spent in a brothel. But while these topics may have been taboo in past days of Christian fiction, I am finding ways of writing their details in subtext. With subtext less is more. Telling is wiped away. Scenes are centered more on the characters' emotional state rather than on all the physical details. We rely on writing with senses besides the visual to create an impactful moment.

The same applies to spiritual truths. We learn to think and view our characters' situations through the eyes of unbelievers or fallen individuals, writing their thinking onto the page instead of our own. We sift our telling to make sure it doesn't ring of Christianese.

As you write, try this. Forget about writing "Christian" literature, and just write literature -- as a Christian. Allow your characters freedom to express their hearts and morals without your omniscient POV overpowering the scene. Capitalize on those specific moments to craft subtext that peeks through the story without painting a broad stroke of telling detail.Therein lies art.

Write on!

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I can never ignore a new novel spin-off the ever-enchanting Beauty and the Beast story. Now Melanie Dickerson has put her own stamp on this timeless tale. It's one of the best I've read so far.  In The Merchant's Daughter, Ms. Dickenson doesn't adhere to a magical or fantasy telling of the childhood story, but sets it in a very realistic medieval village, in mid-1300s England.

What I liked most about this book was the way she managed to bring the original story elements into this realistic setting:

**The heroine, Annabel, is a merchant's daughter whose father's ships were destroyed. After his passing, she lives with her very slothful brothers and her rather vain mother. I liked that Ms. Dickerson included this family element. Many versions of the tale over the years have included various numbers of "Beauty's" siblings. Did you know there were 12 in the original? Nothing like the Disney version, huh?


**Readers are given a valid reason for Annabel to wind up at the beastly Lord Ranulf's estate. She's indentured to pay the fine for her family's failed responsibility to do their share of work during the village harvest. She goes willingly, knowing that her family ought to have worked.

**Anabel is pursued by an underhanded bailiff who is thought of highly by the villagers, but who is a threat to Anabel's future and personal safety.

**Lord Ranulf is scarred both physically and emotionally by his past. His countenance is dour and his mannerisms brusque, giving him a terrifying reputation.

**Ms. Dickerson slips in the rose from the original story providing a symbolic correlation to Ranulf's death becoming imminent if Anabelle won't save him.

**Ranulf's utter transformation at the end from "beastly" to "princely" was beautifully written, and I loved the way the author managed to keep this element in the story without the magic of the fairytale.

The only criticism from a writer's perspective, and one which I doubt will matter much to most readers, was an occasional slippage from the deep point of view usually desired, with an occasional indulgence in telling and be-verbs. But such occurences were slight and easily overlooked by the rest of the story's dynamic plotting and dialogue.

I thought the major theme of discrimination was handled adroitly in The Merchant's Daughter, but my favorite story premise emerged in the line, "...love is greater than justice." Even though justice was served in the end, I found it a resonating truth that it's better to show mercy than to be right.

Ms. Dickerson's novel provides readers the pleasant escape we all need now and then. I enjoyed being carried away into it. That, at least, was magical.

Write on!

Myriad of methods exist for writers to organize plot and arrange notes. Some programs are free, some are offered for a fee. The Snowflake Method, BubbleUs, Simplenote, iA Writer, Evernote,Wunderlist, Scrivener, and more, beckon us. And most of them work very well, depending on what you want your tool to accomplish.

If more computer programs aren't your cup of tea, you can still use old fashioned household tools to sticky note, story board, story file, or just spread papers all over your office, hoping to find the elusive all-important detail you want when you need it.

I'm not going to endorse any particular system, but as a hands-on approach works well for me, I'll tell you what I do. I've tried some of the above systems, and found them useful when I'm first developing a plot, but for my basic note organization, by favorite system is still the use of notebooks. Old fashioned, colored compositions books in college rule to be precise.

Every time I start a new novel, I pull out a new notebook. Inside the front cover I list titles of resource book I'm using in my research, including the library's dewey decimal number so I can find it quickly again if its borrowed. My notes from these books go on separate pages in the notebook, and at the top of where those pages begin, I repeat the reference information in case I have to look it up again.

I also put the date I began the notebook on the inside cover so I can chart how long it's taking me to write the book. Beneath the date, I even jot my goal, such as write this novel this year, or 2000 words per week, or 100,000 words this year -- whatever the goal is.

On page 1, I blaze the WIP's working title across the top; then I state the Story Goal and Story Themes. Of course, new themes will evolve, or one theme will take priority as the story develops its shape. But by having the story goal and theme clearly stated at the onset, it's easy to remain focused and avoid meandering all over the place. I refer back to page 1 often during the course of writing.

On the following pages, I begin fleshing out characters. NOTE: Here is where I incorporate other programs or character-building plans I've garnered from fellow writers. I write down the basics on these pages, but I do fuller fleshing in a computer program -- even simply in a word processor file. But in the notebook --  one character per page -- I highlight the basics: eye color, age, personal quirks and tics, character goal. On the computer file I fill out their full goals, desires, black moments, all in finer detail.

After the characterization pages, I use a page that simply summarizes the previous pages with all the characters' names, ages, and a basic timeline. This is invaluable when you begin more books in your series. You'll want a quick way to look back and remember how old a character was in Book One, so you'll be able to age them appropriately in Book Three. You'll forget who was related distantly to who, or the names of minor characters making only momentary appearances. LIST THEM so you can flip back quickly and find them. I sometimes transfer this page to a computer file that I can keep open alongside my WIP.

Now I put a sticky note in the notebook as a marker. Here I begin my actual outline. I outline in scenes, dialogue fragments, as well as brainstormed and then this happens... notations. There's not real clean way that works for me. If you plot at all, do it in a way that works for you.

Sometimes, as scenes and plot points are accomplished in the WIP, I cross them out in the notebook. It's easy to forget if you're writing a long novel, or especially if you're writing a series, whether you've covered a certain story point or not, especially if it's a small nuance you intended to slip in.

I also mark off a section of the notebook with a sticky note for jotting down scenes that come to me out of the blue, stuff I might want to develop later. I cross them out once -- or if -- I use them and also if I decide to scrap them.

Half way through the notebook, I mark off a section (with another sticky note) for all my historical or other research notes. Page after page of research gets jotted here. I star sections that I absolutely have to use in the story. I ask myself questions about it as I go, making notations along the edges. My notebook is both organized and messy at once -- kind of like my brain.

SERIES NOTE: Starting on the very last page of the notebook, working backward, I jot notes that come to mind for the next book in the series. I'm not really ready to go there yet, but sometimes a little something will hit me as an idea I don't want to forget. When I buy the next notebook and begin the process again, I transfer those back page notes into thenew notebook and begin the whole process again. For instance, while I was writing The Red Fury, I discovered that collecting roses became popular during Victorian times, and that was also when giving a flower based on the meaning of its color was in vogue. I jotted brief notes about it in the back of my Red Fury notebook, along with websites to refer back to. This worked perfectly into what is now becoming my next book, The Black Rose.

This may sound complicated, but it works great for me. You have to organize in the way that works for you. The point is to do it. Writing a series, or even a single novel, isn't something that you can really do without a good system of organization -- even if you’re a panster.

One more thing:

As I write the actual novel, I keep another computer file open containing a few of the details from my notebook, like I mentioned earlier. They might be the characters names & ages, the timeline, a few things like that. In the actual WIP, at the bottom of the scene I'm writing, I write a very short outline of where I'm heading so that each day I can remember how to pick up. This is extremely helpful during those times when several days pass between writing bouts. This might be short points, or a paragraph synopsis -- just a little something for quick reference to keep me on track from one scene or chapter to the next.

Whether you're writing a single novel or a series, a good system for organizing your notes will keep you on a path through the chaos of creation.

Write on!

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Once again, Patti Lacy writes a book that proves she is a writer's writer. She never takes on small challenges, and in her latest novel, Reclaiming Lily, she mines the rich veins of story involving a family whose foreign adoption involves intrigue and heart-wrenching drama.

The layers to this story come down one atop the other, turning this way and that until they're woven tighter than a grass tatami mat.There's the adoption from China seen both from the side of the woman whose heart has long ached for a child, and through the eyes of the child's older sister who hoped to reclaim her sibling from the orphanage and bring her back to her birth family. Finally, it's seen through the eyes of the teenager who remembers the loss, abandonment, fear, hatred, and displacement she struggled through being left at an orphanage during turbulent times, and then adjusting to growing up in a new country.

As writers, we know that effective layering creates an unforgettable story. With each layer and sub-theme a writer puts down, there's another reason for that character and story to weave into a reader's subconscious and stick there. But weaving those layers seamlessly is an art. I guess that's why we call it "craft". Crafting layers takes practice and a great deal of thought. This is where plotting is especially helpful. SOTP-only writers surely must have more difficulty with layering.

As writers of Christian fiction, we are challenged to write about realistic situations without using a preaching voice. Reclaiming Lily speaks to the tragedies of civil unrest, culture clashes, self-mutilation, teenage rebellion, and the devastating effects of genetic disease. Ultimately, it's a story that weaves the faith factor in so realistically, especially for Kai, Lily's unbelieving sister, I couldn't help but be moved. 

As writers, we know what Patti accomplishes is no small task. Her research seems to have been impeccable. Writing a story with such breadth and depth as this requires patience as well as skill. The urge to tell a story while skimping on the research is often a temptation. We want to get to the emotional stuff, the action, those scenes we hope will fill the reader with angst and titillation. But Patti must have taken a great deal of time to explore the many avenues of research this story required. Without it, the telling would have fallen flat and left us doubting.

As writers, we have to tie the knot. Ms. Lacy brings about a huge twist in the plot eventually providing a superb "Ah-ha!" moment, and the ending is both dramatic and satisfying. It's definitely women's fiction worth reading. It will stay with you. It will show you how all those thematic elements come together.

Write on!